Tag Archives: Lee Ann Womack

100 Greatest Men: #3. Willie Nelson

Willie Nelson100 Greatest Men: The Complete List

He started out as an unconventional songwriter trying to be a conventional artist.  But when Willie Nelson let his hair down, he became a country legend for the ages.

Nelson was raised by his grandparents in Texas, who encouraged him to play the guitar and to write songs.  When his sister Bonnie married fiddle player Buddy Fletcher, Nelson joined his band as the frontman, staying with him until he graduated high school and did a brief stint in the Air Force.

Continue reading

1 Comment

Filed under 100 Greatest Men

Song Talk: Driving Away

There are a lot of great country songs chronicling the breakup of a relationship, but it’s the female characters who have often shown a particular propensity for leaving their lovers by car. Sometimes she changes her mind and turns the car around; most of the time she doesn’t. Either way, it’s been the making of many a great country song.

There are obviously numerous songs that fit this mold, but here’s my whittled-down list of six personal favorites. I look forward to reading about your favorites in the comments section below.

Patty Loveless Only What I Feel

“Nothin’ But the Wheel”
Patty Loveless
Written by John Scott Sherrill

Whenever I attempt to rank my many favorite Patty Loveless songs, “Nothin’ But the Wheel” is always one of the top three. Loveless’ mournful drawl is gorgeously framed by the weeping fiddle and steel guitar as she gives voice to a woman striking out on the road in the wee hours of the morning. The real gut punch comes with the line “And the only thing I know for sure is if you don’t want me anymore…” as the narrator reveals that she’s leaving not only because she’s unhappy, but because she knows she will not be missed. Continue reading

33 Comments

Filed under Song Talk, Songs About...

Single Review: Lee Ann Womack, “The Way I’m Livin’”

Lee Ann Womack The Way I'm Livin'It’s always fascinating to see how a recording artist responds once her days as a consistent hit-maker have passed: While some chase the latest trends in an effort to remain commercially relevant, others embrace their newfound creative freedom and challenge themselves to add something meaningful to both their own artistic legacy and to the country genre itself.

With “The Way I’m Livin’,” the title track to her first album in six years, it’s apparent that Lee Ann Womack has taken the latter route.

For the better part of twenty years, Womack has been one of country’s most distinctive vocal stylists, thanks to her languid sense of phrasing and deceptively sweet vocal tone. On “The Way I’m Livin’,” Womack uses her instrument in entirely new ways. Shortening her vowels and clipping individual phrases, she brings a worldly, damaged point-of-view to the song’s sordid tale of “lyin’ and a’sinnin’.” Not even her feisty readings of standout hits “Ashes by Now” and “Does My Ring Burn Your Finger” hinted at her capacity for wallowing in vice the way she does here, and it’s downright revelatory.

Beyond the stellar vocal turn, though, what makes “The Way I’m Livin’” one of Womack’s finest singles is the complexity of the song itself. The imagery of the opening stanza, wherein Womack sings of meeting the Devil on the roadside and succumbing to temptation, may be familiar, but songwriter Adam Wright ensures that those images are fraught with implication. Whatever was in that “bottle of something sweet” the Devil may have offered, it was stronger than any Schnapps or other candied liqueur, and it set Womack’s protagonist on a wayward path.

Plenty of contemporary country songs, though, find women donning bad-girl drag. “The Way I’m Livin’” isn’t so one-dimensional. Too aware of both earthly and eternal forms of damnation to make for a braggart’s confession, the song is also too unapologetic to scan as a proper cautionary tale. The best Wright allows Womack to do is tell her mama not to worry, since she neither wants to nor can be saved. As the blues riffs and thundering percussion build behind her, Womack insists that, “If I ever get to Heaven, it’s a doggone shame.” She’s a woman in full control of her decisions, and she’ll be damned if she’ll hate herself in the morning.

Written by Adam Wright

Grade: A

4 Comments

Filed under Single Reviews

Single Review: Kacey Musgraves, “Keep it to Yourself”

Kacey Musgraves Keep-It-to-YourselfThe conflict of whether or not to reconnect with an ex-lover can be the perfect fodder for a great country song. Just ask Lee Ann Womack.

Musgraves’ narrator faces such a choice on her stellar new single “Keep it to Yourself,” but in this instance she sticks with her better judgment. Should her ex find those old feelings returning, she offers the advice found in the song’s title:  “Keep it to yourself.” The hook is simple and direct, yet disarmingly effective.

Much has already been written about Kacey Musgraves’ gifts as a lyricist, and while such are definitely evident on “Keep it to Yourself,” the song is particularly noteworthy as a display of her power over a melody. The low, somber notes convey a weary, angst-ridden feeling in the opening verse before rising to the gentle plea of the chorus.

Even more impressive is the way the melody and performance manage to convey the intangible, allowing the listener read between the lyrics. The pleading tone in Musgraves voice suggests that she is begging her ex not to call her perhaps because she’s afraid that she just might not be able to muster the strength to say no the next time.

“Keep it to Yourself” is fresh in its approach, yet classic in theme and delivery. It comes across as moving and sincere, but not cloying or contrived. The gentle arrangement and strains of steel guitar enhance the story without interrupting it, while Musgraves’ vocal conveys deep vulnerability without veering into melodrama.

“Keep it to Yourself” is top-notch country storytelling through and through – an understated gem of a performance that represents much of what we wish mainstream country music could still be in 2014.

Written by Kacey Musgraves, Shane McAnally, and Luke Laird

Grade: A

11 Comments

Filed under Single Reviews

Single Review: David Nail, “Whatever She’s Got”

David Nail Whatever She's GotIs “Whatever She’s Got” really just David Nail doing whatever he’s got to do to stay in the game?

Nail is one of the most distinctive and substantive new voices to emerge in recent years, especially among the crop of younger male artists.  He’s had more false starts than most, going through two labels in eleven years and having moderate to major hits, but not building up enough momentum to string a few together.

“Whatever She’s Got” is certainly his biggest hit to date, as it’s his first to reach gold status.   It’s so beneath his talent, though.  As generic as they come, it’s hard to believe it’s being sung by the voice behind “The Sound of a Million Dreams.”

But it’s working for him, I guess, and his upcoming album has a Brandy Clark co-write and a duet with Lee Ann Womack.   Here’s hoping that “Whatever She’s Got” gets him a good enough foot in the door that he can actually walk through it this time, and sneak some material worthy of this talent in with him.

Written by Jon Nite and Jimmy Robbins

Grade: C

5 Comments

Filed under Single Reviews

We Need to Have a Little Talk about Randy Travis

Randy TravisIn a year that has already brought the deaths of immortal talents like George Jones, Slim Whitman, Patti Page,  and Jack Greene, not to mention the untimely loss of Mindy McCready, it is understandable that the recent news regarding Randy Travis is having the country music fans collectively holding their breath with nervousness and dread.

There is something distinctly different about how I am processing the news about Randy Travis.    The thought of losing him is inextricably linked with a feeling that we’d be losing an essential core of the country music that I fell in love with more than two decades ago.  Now,  I remember Randy Travis from when I was a child.   What little kid wouldn’t be in love with a catchy song like “Forever and Ever, Amen”?

By the time I was old enough to discover country music on my own, he was already something of an elder statesman, despite his young age. As I delved into the history of the genre I was falling in love with, widely accepted concepts like Travis starting the new traditionalist movement and Storms of Life being one of greatest albums of all time had taken root.   The truth is, traditionalism never really went away, and even during the Urban Cowboy years, artists like Ricky Skaggs and Emmylou Harris were having commercial success with roots-based music.

But Randy Travis didn’t just have a bit of success.  He sold millions of records in a time where almost no country acts were doing so, and certainly none who didn’t incorporate pop or rock sounds into their work.   His massive success was the tipping point that made the nineties boom inevitable, as labels saw new acts like Clint Black and Alan Jackson as being capable of superstar status, instead of just being genre favorites that sold moderately well.

He never really got the credit he deserved for this, with the industry treating him like old news despite him continuing to score hits and sell platinum throughout the nineties and early 2000′s.   There are so many great singles that I was around for when they first came out.  “Before You Kill Us All.” “Look Heart, No Hands.”  “Out of My Bones.”  “Whisper My Name.”  “If I Didn’t Have You.”  “Better Class of Losers.”  “The Hole.”   “Three Wooden Crosses.” “Dig Two Graves.”  The list goes on and on.

He’s also responsible, through no fault of his own, for what I call country music’s Messiah Complex.   After he revolutionized the widespread appeal for traditionalism, which led to a solid decade of traditional country artists being signed and succeeding wildly, the sounds began to drift back to pop and rock flavorings.   Since this shift, every slightly twangy newbie has been anointed as the savior of country music.  Lee Ann Womack, Brad Paisley, Dixie Chicks, Joe Nichols, Josh Turner, Jamey Johnson, and Gretchen Wilson have all been shouldered with the burden of being the next Randy Travis.

This has led to deep disappointment when their second or third album struggled, or even worse, to feelings of betrayal when these selected stewards veered away from traditional country music.   All that pressure, and not a one of them even started off with an album in the same league as Storms of Life, though Johnson and the Chicks came remarkably close.

I can’t get my head or my heart around the thought that his contemporary titan might not be with us anymore.  I can’t stomach the coverage that focuses more on his personal troubles than his incredible body of work and peerless impact on country music as a whole.

Please use the comments to share your own thoughts and feelings about Randy Travis.  Also, I recommend reading the Favorite Songs by Favorite Artists piece that Leeann Ward wrote a few years ago.   It’s an excellent place to start for those who are looking to discover the his rich and diverse catalog.

 

21 Comments

Filed under Miscellaneous Musings

Single Review: Joanna Smith, "We Can't Be Friends"

Listening to the new Joanna Smith single, I’m reminded of when Lee Ann Womack first hit it big. I was impressed by

her taste in material and I thought the production of her records was impeccable.

But on those early hits like “The Fool” and “A Little Past Little Rock”, I always had the nagging feeling that the songs would’ve been better if they’d been recorded by Pam Tillis, who has a similar vocal style but more power and range.

Over time, Womack perfected her vocal technique and created her own distinctive style, one that is best showcased by simple arrangements and tasteful restraint.  The power of later hits like “I May Hate Myself in the Morning” and “Last Call” comes from her ability to accentuate an understated vocal will little punches of twang and power that create a dramatic effect.

So now, fifteen years after Womack first surfaced, I find myself listening to the new single by Joanna Smith and wishing it was being sung by Lee Ann Womack.   Smith’s got a great song, and she sings it well, following Patty Loveless’ golden rule: “Don’t get in the way of the song.”

But she stays out of the way of the song just a little too much, and there aren’t enough moments of twang or power to make the record interesting.    I still hope it gets a shot at radio, as it would be the best breakthrough single for a new female artist in a good long while.   I want to hear more from Smith, so I can hear more of Smith as she hones her style over time.

Grade: B+

Written by Brandy Clark, Shane McAnally, and Shelley Skidmore

Listen: We Can’t Be Friends

4 Comments

Filed under Single Reviews

iPod Check: Most Played Song by Twenty Country Artists

Since bringing back Recommend a Track proved so popular, I’m resurrecting another CU oldie but goodie: the iPod check.

I’ve only recently discovered the Most Played feature on iTunes, since it never had any relevance until iPods were large enough in memory to sync all of my music.   So going back to early 2011, I have a lengthy list of the songs I’ve played the most.

So today’s iP0d check:  List your most-played song from twenty different country artists.

You can access this info by going to your own Most Played list and adjusting the number of songs on it – I use 500 for mine – or you can just go to Music and sort by number of plays.  Or you can just pick twenty artists at random and list your most played song for each.  We’re easy here.  (This would also work in Spotify, from what I hear.)

Here’s my top twenty:

  1. Pam Tillis – Deep Down (89 plays)
  2. Keith Urban – I Told You So (81)
  3. Dixie Chicks – Long Time Gone (71)
  4. Taylor Swift – Mean (68)
  5. Trisha Yearwood – Where Are You Now (63)
  6. Patty Loveless – You Can Feel Bad (59)
  7. Emmylou Harris – Easy From Now On (55)
  8. Carrie Underwood – Undo It (50)
  9. Lori McKenna – Lorraine (50)
  10. Dwight Yoakam – Ain’t That Lonely Yet (46)
  11. Sara Evans – Rocking Horse (45)
  12. Sawyer Brown – Cafe on the Corner (45)
  13. Reba McEntire – The Fear of Being Alone (44)
  14. Shania Twain – Up! (43)
  15. Faith

    Hill – Stealing Kisses (41)

  16. Alan Jackson – So You Don’t Have to Love Me Anymore (40)
  17. Crystal Gayle – Why Have Your Left the One You Left Me For (39)
  18. George Strait – Meanwhile (39)
  19. Lee Ann Womack – I May Hate Myself in the Morning (39)
  20. Aaron Tippin – Whole Lotta Love on the Line (38)

I’m surprised that some of my most played artists overall, like Dolly Parton, Randy Travis, and Tim McGraw, don’t have that one big song that I play excessively.  Also, at least half of the songs above aren’t what I would call my favorite song by the given artist.  How about you?

 

24 Comments

Filed under iPod Check

Album Review: Various Artists, <i>KIN: Songs by Mary Karr & Rodney Crowell</i>

Various Artists
KIN:  Songs by Mary Karr & Rodney Crowell

A collection of songs written by industry veteran Rodney Crowell along with bestselling author and poet Mary Karr, recorded by a who’s who of country and Americana music greats. It should be enough to set the mouth of many a roots music aficiando watering.

The very concept behind the album places the emphasis squarely on the songwriting – an approach that is flawlessly adhered to by Joe Henry’s ace cialis no prescription needed quick delivery production job. The twangy, stripped-down arrangements stay entirely out of the way of the songs, often reverently nodding to the conventions of traditional country music. It doesn’t feel so much as a rote exercise in throwback neotraditionalism, but more so as a style that simply feels timeless and ageless on its own merits, untainted by production trends that might tie it to a particular era.

In large part, what’s impressive about this album is that, despite the eclectic line-up of participating artists, KIN doesn’t feel like a potluck project of songs randomly thrown together.  It really does feel like an album, with each track serving as a part of a cohesive whole, bound together by recurring themes of family and rural small town life.  Karr’s liner notes reveal that for song inspiration, she and Crowell drew heavily upon their own youthful experiences, having come from very similar upbringings despite not having grown up together.  However, the treatment of such topics is hardly lily-white, with family homes often sporting bullet holes and reeking of alcohol.

Crowell himself steps up to the mic on four of the albums ten tracks, sharing it with Kris Kristofferson on the standout duet “My Father’s Advice,” which boasts an infectious melody and fiddle hook.  While country radio often favors the proverbial “old man’s advice” song, “My Father’s Advice” rises above the often cliché-laden mainstream treatment of such subject matter by creating a believable, three-dimensional character sketch of the narrator’s father – realistically imperfect, but deeply devoted to rearing his son in the right way, with Kristofferson giving voice to the father figure of Crowell’s narrator.  Crowell’s other vocal turns include the noncharting single “I’m a Mess,” along with album opener “Anything But Tame,” a wistful meditation on the course taken by a childhood friendship.

The contributions of the participating artists are no less stellar.  Having built a career as a mainstream country artist with a moderate neotraditionalist bent, Lee Ann Womack has never sounded better than when paired with a fiddle-drenched pure country arrangement.  A jaunty tempo and dobro hook bely the dark lyric as Womack sings from the perspective of a child witnessing the dissolution of her alcoholic parents’ marriage on album standout “Momma’s On a Roll.”  In keeping with the family theme, the camaraderie of sisterhood is explored with “Sister Oh Sister,” which Crowell’s ex-wife Rosanne Cash renders with deep sincerity.  Vince Gill’s sweet tenor absolutely soars when paired with the stone cold throwback arrangement of “Just Pleasing You” – a traditional country gem that wouldn’t sound out of the place in the legendary Hank Williams catalog.  Lucinda Williams sounds downright desperate in her delivery of the aching ballad “God I’m Missing You,” while Norah Jones turns in a delightfully wry take on “If the Law Don’t Want You” – a witty tune inspired by Mary Karr’s teenage years.  Times past have attested to the fact that no Rodney Crowell song can hope for a finer vocal medium than the incomparable Emmylou Harris, who delivers the haunting “Long Time Girl Gone By” in an earthy whisper of a performance.

Crowell closes out the set with “Hungry For Home,” a charming detail-laden lyric that encapsulates the warmth and comfort of one’s home – something that can be found even in a home long beset with family strife.  It’s a fitting conclusion to the album as a whole, showing that – despite the hardships Karr and Crowell both dealt with in their respective upbringings on into adult life – they clearly retain a deep appreciation for the experiences that have shaped them as individuals.  “It was like we’d grown up next door in a hellacious place – the anus of the universe, my mother always called it,” writes Karr.  “But we adored those characters and their language – we’d never choose elsewhere.”

Considering that country music has long been a primarily singles-oriented format, it’s refreshing to see such a fine realization of the album as an art form. Though each individual piece is captivating in itself, KIN remains an album best heard in its entirety, with hardly a weak track to be found.  The entire project radiates authenticity, as Karr and Crowell essentially hand over their respective family photo albums for music lovers to leaf through, making KIN feel very much like a memoir set to music.  One would certainly hope that Karr and Crowell continue to write excellent songs together, and that the results will be at least half as rewarding as they are on this fine album.

3 Comments

Filed under Album Reviews

100 Greatest Men: #47. Rodney Crowell

100 Greatest Men: The Complete List

First as a songwriter, then as a new country superstar, and currently as an alternative country icon, Rodney Crowell has made an indelible mark on country music for nearly four decades.

Born and raised in Houston, Texas, he was already a bandleader in high school, heading up a teenage outfit called the Arbitrators.   He was only 22 when he moved to Nashville, and by 1975, he’d been discovered by Jerry Reed, who heard him doing an acoustic set.   Reed not only recorded one of his songs, but also signed him to his publishing company.

Crowell was soon a member of Emmylou Harris’ Hot Band, and she was the first to record some of his compositions that went on to be big hits for other artists, including: “I Ain’t Living Long Like This”, a #1 hit for Waylon Jennings; “‘Til I Gain Control Again”, a #1 hit for Crystal Gayle;  “Leavin’ Louisiana in the Broad Daylight”, a #1 hit for the Oak Ridge Boys; and “Ashes By Now”, a top five hit for Lee Ann Womack.

His remarkable songwriting talent led to a record deal with Warner Bros.  While a trio of albums for the label were critically acclaimed, they failed to earn him success on the radio or at retail.   But as would be the case for his entire career, other artists mined those records for hits.  Most notably, “Shame on the Moon” became a #2 pop hit for Bob Seger & the Silver Bullet Band.

Crowell took a break from his solo career to focus on his songwriting and production responsibilities for then-wife Rosanne Cash.   This would be yet another successful avenue for Crowell, as his work with Cash produced several #1 singles and three gold albums.  The relationship also helped set his solo career on fire.  After signing with Cash’s label Columbia, his second set for the project was previewed with a duet with Cash, “It’s Such a Small World.”

It became the first of five consecutive #1 singles from Diamonds & Dirt, a gold-selling disc that briefly made Crowell an A-list country star, as five additional Cash singles that he had produced also hit #1 over the same time period.   He received a Grammy award for Best Country Song for “After All This Time.”   Two foll0w-up albums for Columbia also produced a handful of hits, with his final mainstream success being the pop crossover hit, “What Kind of Love.”

In the nineties, Crowell recorded two albums for MCA which were well-reviewed, but most notable for the second set including “Please Remember Me.”  It stalled as a single when Crowell released it, but  later that decade, Tim McGraw’s cover topped the charts for five weeks and earned Crowell a slew of award nominations.

The new century brought a reinvention on Crowell’s part, as he repositioned himself as an Americana artist with remarkable success.   A trio of albums earned rave reviews, as did his collaboration with old friends like Vince Gill on The Notorious Cherry Bombs, which earned a handful of Grammy nominations and included Crowell’s “Making Memories of Us.”  Once again, a current artist discovered it, and Keith Urban took it to #1 for several weeks.

Inducted into the Nashville Songwriters Hall of Fame in 2003, Crowell continues to build on his legacy as a singer, songwriter, and producer.  Most recently, Crowell produced Chely Wright’s confessional Lifted off the Ground and co-wrote an album with friend Mary Karr which features their songs recorded by several artists, including Crowell himself. 

Essential Singles:

  • I Ain’t Living Long Like This (Waylon Jennings), 1980
  • ‘Til I Gain Control Again (Crystal Gayle), 1982
  • Shame on the Moon (Bob Seger & the Silver Bullet Band), 1982
  • It’s Such a Small World (with Rosanne Cash), 1988
  • I Couldn’t Leave You if I Tried, 1988
  • After All This Time, 1989
  • What Kind of Love, 1992
  • Please Remember Me (Tim McGraw), 1999
  • Making Memories of Us (Keith Urban), 2005

Essential Albums:

  • Ain’t Living Long Like This, 1978
  • Diamonds & Dirt, 1988
  • The Houston Kid, 2001
  • Fate’s Right Hand, 2002
  • The Outsider, 2005

Next: #46. Dwight Yoakam

Previous: #48. Kris Kristofferson

100 Greatest Men: The Complete List

10 Comments

Filed under 100 Greatest Men